Who Killed Teddy Bear?
Anthology is screening it twice this week
The Honeymooners
“[TEDDY BEAR is] preoccupied with voyeurism, masturbation, fetishism, lesbianism, rape, and all manner of psychosexual aberrations…. What the film may lack in explicitness, it more than makes up for in its murky morality. Here the motives of the ‘hero’ are repeatedly questioned, the ‘villain’ is portrayed in a remarkably sympathetic light, and our own act of viewing is shown to be every bit as double-edged as everyone else’s, until finally the dream-like ending has innocence and depravity treading the same mean streets. … The film’s sexual panic captures perfectly the mood between the repressive 1950s and the liberated 1970s – and for those with an interest incinema history, TEDDY BEAR represents an important missing link between, on the one hand, PEEPING TOM (1960), PSYCHO (1960), and the nascent Italian giallo genre, and on the other hand, BLACK CHRISTMAS (1974), TAXI DRIVER (1976), and the American slasher genre.” – Anton Bitel, CHANNEL 4
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